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David Poland

By David Poland poland@moviecitynews.com

Oscar Nomination Special

As Hillary might say, it takes a village to guess all the Oscar nominations. The only person to get 19 of the 20 nominees in the top four categories (Best Picture, Best Director, Best Actress and Best Actor) was the lovely and talented Keith Collins. The only miss was the Best Director nod awarded to Peter Cattaneo for The Full Monty. But not a single person guessed that. Keith’s alternate guess was Jim Brooks for As Good As It Gets. It didn’t get that good.
Keith blew the supporting nominations, as did so many others. Robert Forster did in many of you who expected Rupert Everett from My Best Friend’s Wedding instead. And while every one of you guessed that Gloria Stuart and Kim Basinger would get nominated as Supporting Actress, you also thought Allison Elliott, Sigourney Weaver and Christina Ricci would get the nod. The only person to get both of the male and female supporting nods right was Jeffrey Paul Arthur Ellis, also talented and lovely, but tagged with an objectionably long name.
The screenplay nominations, which many of you skipped, left screenplay nominee of the future Marc Andreyko as the top dog with 80 percent correct. For him, Titanic was a better original screenplay than Deconstructing Harry, and Amistad was a better adaptation than The Sweet Hereafter, but not for the Academy. Screenplay wasn’t the only category to go without full-on competition. Very few of you put in your two cents for anything more than the top eight categories listed. But that’s no real surprise, especially in the documentary, shorts and foreign categories, in which most of the films nominated haven’t been available for viewing in this country. Even here in L.A.
A special nod to Kevin O, who offered up an opinion for every category the Academy offers. Kevin didn’t guess all the nominees, just a list of the people he thought should win. And now that the nominations are out, the only category in which his favorite isn’t nominated is Best Make-Up. Kevin wanted The Fifth Element to take the Oscar. Sorry, but it must be exciting to have a rooting interest in every other category on Oscar Night and during the tech awards the night before.
Thank you all for writing, and we’ll try to come up with a nice prize for your Oscar-night predictions in March.
READER OF THE DAY: Turns out that people really like the THX logo before movies, but reader Tony A may have lost his mind: “That slow THX build and crescendo really conveys a sense of power. In fact, I think the sound should be used in more everyday applications. How about a THX doorbell? Or alarm clock? The best would be a THX car alarm. ‘The Police are Listening.'”

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon